14
BCD SPECIAL REPORT ON
HISTORIC CHURCHES
21ST ANNUAL EDITION
the 12th century with a succession of additions
and changes made into the 15th century.
It consists of a Perpendicular nave (c1400)
with later south porch and late 14th-century
embattled square west tower. The roof of
the nave dates from the 15th century, and is
reported to have the second widest span in the
county, supported by double hammerbeam
trusses. The chancel is of the late 13th-century
(early Decorated) with windows mostly of
the 14th-century, and there are fragments of
surviving late 15th-century glass in the east
window. Sadly much of the early glass, as well
as carved wooden angels from the roof, have
long since been lost, perhaps as a result of a
visit by the puritan William Dowsing in 1643.
In 1849 the church interior was repaired
and reseated with benches adorned with ornate
carved figures including those of a unicorn,
pelican and other animals, although some
15th-century benches still survive at the west
end. The church was restored by JD Sedding
(1839–1891) in 1872 and the chancel and its roof
were restored in 1889. Although the interior
has been much Victorianised, fragments
of the medieval structure remain as well as
some historic contents including a carved
14th-century font, bells of which the earliest
dates from the 15th century, late 17th-century
altar rails with turned balusters and
18th-century grave slabs laid in the chancel floor.
THE ALTAR OF SACRIFICE
In the east wall, to the south side of the
chancel arch (late 13th century), and beneath
an opening which would once have led to the
15th-century roodloft, is a plain 14th-century
niche. It is thought that this may once have
been the recess for a guild altar. Today it forms
the frame to a painted canvas war memorial by
the artist Marion de Saumarez (1884–1978).
Saumarez was one of three daughters of the
diplomat James, 4th Lord de Saumarez. Born
in London, she was brought up in Guernsey
and then in Paris, where she enrolled at the
Académie Julian. This French art academy was
ground-breaking in that it offered women the
same training in art as men. Marion exhibited
at the Paris Salon and developed a successful
reputation as a portraitist; the novelist
MR James was one of her famous sitters.
Marion de Saumarez’s mother, née Jane
Ann Broke, was the heiress of several large
houses and land in Suffolk including Shrubland
Park, near Coddenham, some 15 miles to the
north-east of Tostock. The country house,
which is listed Grade II*, was originally
designed by James Paine in 1770–1772, and
is set within parkland partly designed by
Repton. Saumarez’s parents’ home was leased
as a convalescent home during the first
world war and she returned there to nurse
the patients as a member of the British Red
Cross, and to care for her ageing parents.
Given her presence in the area, a
work for Tostock parish church seems
to have been a natural commission, and
consequently the painting, The Altar of
Sacrifice, was commissioned in 1918 as a
war memorial. It is interesting to note that
the following year Marion completed an oil
painting titled Interior of Shrubland Park
Hospital, Barham, Suffolk, Showing Staff
and a Patient, now part of the British Red
Cross Museum and Archives collection.
The Altar of Sacrifice, an oil on canvas,
depicts an epitaph inscribed with the names
of those men from Tostock who lost their
lives during the 1914–18 war, surmounted by
an angel. On the left a sailor kneels facing
the names, in front of St Andrew who holds
the Scottish flag and an anchor. Opposing
them is St George holding the English flag
and a shield decorated with a dragon.
The painting is now in need of conservation.
There is localised paint loss and evidence of
mould. Moreover, the paint is not varnished and
bats roosting in the church pose an additional
threat as a result of their droppings and urine.
A detailed report has been commissioned
by the parish and, following a survey of the
painting, conservator Rosalind Whitehouse
ACR set out a conservation strategy for its
repair and long-term protection. The next
stage of the project is to raise the necessary
funds, estimated at just over £2,000. This
relatively small amount would protect
the painting for the next generation.
The conservation of this painting is
particularly timely given the commemorations
of the first world war commencing this year.
CATHERINE TOWNSEND
holds a master’s
degree in the conservation of historic buildings
from the University of Bath and
PEDRO GASPAR
holds a PhD in conservation from the Royal
College of Art, having previously studied materials
science at the Instituto Superior Tecnico,
Lisbon. Both advise on conservation issues,
grants, open and sustainable churches, and the
management of change in church buildings
at the Cathedral & Church Buildings Division,
Church of England
).
Further Information
Additional information, including details and
a map showing the location of the 99 other
artworks can be found on the ChurchCare
website – see
.
ChurchCare also provides advice on caring
for war memorials, which can be seen at
.
The Church of England has launched its
own website to commemorate the centenary
to bring together resources and stories
from the church during the first world war,
churchofengland.org/ww1.
The Altar of Sacrifice
, the oil on canvas memorial in a niche at Tostock parish church, Suffolk, which needs urgent
protection from damp and bats’ droppings (Photo: Tim Crosbie)
